Hero Collection 3

Barbara Hero’s lambdoma.
com
Further Lambdoma Writing & Research

by Barbara Hero
International Harmony Based Upon a Music of Planetary Grid Systems

by Barbara Hero
New Musical Instrument May Reveal Key to the Universe

by Dan Shaw
Q&A1
Q&A2
© Barbara Hero 2008
Strawberry Hill Farm 496 Loop Road, Wells, Maine, 04090-7622, tel. 207-646-7950
Barbara Hero’s lambdoma.com
International Harmony Based Upon a Music of Planetary Grid Systems

by Barbara Hero
This paper will propose a method of correlating Earth Grid systems with
specific musical notes, by a process of translating length to frequencies which
can then be translated to musical notes.
A method of octave expansion and octave reduction was used to
determine the specific frequency of a note.
When this theory is applied to the relationships of countries to sounds, a
way of increasing harmony between countries can be suggested by knowing a
key note of the distance between them.
A correspondence with Pythagorean Lambdoma of seven rays is
suggested.
In September of 1983 1 received a letter from Governors State University
in Illinois requesting submission of information or research on a project called
THE PLANETARY GRID SYSTEM. I wrote back a note saying that perhaps I
could help by identifying the musical interval of the modular grid system if there is
a module that has been determined in length. Then, a year later in December,
1984, Bethe Hagens and William Becker sent a copy of the magazine "Pursuit"
(1) which featured their research. And in this article the distances in miles of the
grid system they devised was given, so that I could get to work to determine
certain musical relationships. I sent a letter detailing these relationships. After
receiving my letter Bethe Hagens replied:
"Thank you so much for your letter. I wanted you to know that we had
received it. I am kind of stunned by what you have found in the grid - and your
political interpretations. It's one of the most fascinating responses we've ever
received. I don't know that I told you, but I am a professional violinist when I am
not being an anthropologist. Your work in harmonics begins to get at something I

have felt intuitively must exist but had no way to express.
"...I have not had the time to sit with your letter and really absorb it. I will
write again once I have something intelligent to say. Again, thanks so much for
writing."
The Becker-Hagens report presented a theory of the growing structure of
the earth, from the tetrahedron, octahedron, cube, icosahedron, and
dodecahedron. These are the Platonic solids attributed to Pythagoras (500 B.C.).
The dodecahedron and icosahedron together, Becker and Hagens found to be
the grid system of our present age. When the line arrays of each of these solids
is overlaid on a sphere, a grid emerges which they contend is a pattern the
ancient peoples used for becoming one with the earth.(2)
Briefly, factors to consider when calculating the harmonic implications
between countries, cities, or villages include the following:
o What is the great circle distance in miles between two points on the grid
system?
o What are the major apex points?
o Is the assumption that Giza is the major point valid, or has the energy
changed since the building of the Great Pyramid?
o Are significant places in history nodes of the grid system?
o Are fault lines energy lines?
o Are mountain ranges energy lines?
o What is the difference between the fault lines and the mountain range
lines in terms of energy?
o Could certain distances portend problem areas in terms of harmonies?
The Becker-Hagens report mentioned the "Twelve Devils' Graveyards
Around the World" (Saga Magazine, 1972) where magnetic and energy
aberrations were located. These are found zig-zaging the equator at 30 degrees
above and 30 degrees below the equator.
Using an "Atlas" software computer program, Robert Foulkrod found the
distance in miles to be 4264 miles between adjacent "Graveyards." The
corresponding musical frequency based on the speed of sound in air is
0.0000502 cps. By octave expansion to the middle "C" octave (multiplying by 2 to
the "n" number of times), this translates to a musical note of "A". This particular
distance or musical note might be an indication of disharmony between
countries, if, indeed, distance is a factor.
The Becker-Hagens report sets the kite shaped grid dimensions as 1400
miles (short end of the kite), 2200 miles (the outside kite length), and 2600 miles
(the brace down the middle of the kite). The musical notes are "E flat", "A flat",
and "F", respectively. The latter note represents the distance between Gomel in
the Soviet Union and Sebha in Libya. Therefore the musical sound of "F" at 345
cps might be accentuated for harmony between these two countries.
The Becker-Hagens report mentioned the theory by Sinkiewitz who
claimed that the present energy grid sytem is out of alignment with the ancient
grid system, and that New Age Spiritual communities around the globe are
rediscovering the new grid and building sacred sites to activate them.
The Aleutian Islands have been predicted to be the new North Pole. See
Figures 1, 2, 3, 4, & 5. [not included here but if anyone is exceptionally
interested, let me know and I will scan, UUENCODE and post them.] What is the
distance involved when a diamond of a 70 degree apex is overlaid on the new
North PoIe, and the legs of the diamond terminate at the Equator? This is the
shape which some have found intuitively very emotionally responsive as if from a
long forgotten past.
A "key note" of a country could be determined by means of a Lambdoma
diagram (a Pythagorean model). See Figure 6, References 3 through 8. The
apex of the Lambdoma diagram is divided equally as the diagonal down the
center of the x and y axis. The diagonal has a ratio of 1:1, so that whatever the
distance is along the diagonal of the grid would be its "key note". For example
Gomel in the Becker-Hagens grid has seven rays radiating from the apex point,
and the diagonal which represents the "key note" extends from Gomel to El
Eglab, 2600 miles, an "F" musically. From Cairo to London is 2183 miles, a "G#".
Each of the rays of the grid would exhibit a unique energy, and much work
has to be done to determine the quality of these differing energies. See Figures 7
& 8. In the case of the earth the circumference of the earth should be taken into
account as a reference distance and frequency, the circumference is 24,860
miles. This is equivalent to a "D" musically (in air).
In conclusion, if the earth is in transition in terms of developing into a new
phase of grid lines, this factor might indicate a shift of energy or frequency at
different places on the earth. See Figure 9. The grid patterns would then take on
different distances. See Figure 10. We might ask how can we as humans help
the earth in this transitory phase?
First, recognizing that harmonies between cities or countries is based
upon attunement to each other's energy patterns. Most of all let us attune
ourselves to the earth's energies, recognizing the oneness of all things in our
material universe, and learning the importance of sound as a manifestation of
different realities.
Any grid system has to have distance as one of the factors, since
wavelength is inherent in all sound vibrations, as the inversion of frequency.
Even though we cannot hear the specific frequency of a grid line, the interval
quality is present though inaudible. So let’s make them audible.
Two “diamonds” of the EarthStar Globe.

Note the similarity to Barbara’s art, above.
References
1) Becker-Hagens, Pursuit Science: Pursuit of the Unexplained, Journal of SITU,
The Society for the Investigation of the Unexplained, Vol. 17, Number 2, Whole
Number 66, Second Quarer, 1984.
2) Jalandris, Earthfire.- Exploring the Energies of the Ancients, Lincoln,
Nebraska, 1981.
3) S. Levairie and E. Levy, Tone.- A Study in Musical Acoustics, Kent State
University Press, Kent, Ohio, 1968.
4) Kayser, Hans, Akroasis.- The Theory of World Harmonics, translated by
Robert Lilienfeld, Plowshare Press, Boston, 1964.
5) E. McClain, The Pythagorean Plato: Prelude to the Song Itsetf, Nicolas Hays,
Ltd., New York, 1978.
6) B. Hero, "Paintings Based on Relative Pitch in Music," Leonardo, Vol. 8, pp.
13-19, Pergammon Press, England, 1975.
7) B. Hero, "Drawings Based on Laser Lissajous Figures and the Lambdoma
Diagram," Leonardo, Vol. II pp. 301-303, 1978.
8) B.Hero,"The Mathematical Laws of Sound (Relationship of Sound to Gravity),
"EnergyUnlimited #12, Box 288, Los Lunas, New Mexico 80731
Since the beginning of time, philosophers have sought the key to unlock
the mysteries of the universe. Some modern-day researchers believe they have
found the key, and that key is a musical key. Every sound that we hear results
from movement. Every thing in existence, even every molecule vibrates. While
not every vibration can be heard by the human ear, every vibration can be
measured. Vibration, or frequency, is measured in cycles per second (cps), also
called Hertz (Hz). For example, consider a violin string, tuned to the musical note
"A" in our familiar Western musical scale. The string vibrates 440 times per
second. Shorten the string slightly, and it will vibrate faster, and at 466 times per
second, you will hear the higher note, "B flat". This basic musical theory may be
familiar to musicians in the West, but there are many other musical scales used
around the world. The "C, D, E, F, G, A, B, C", or "do, re, mi, fa, so, la, si, do"
scale known as the "equal-tempered" or solfeggio scale that we use today was
invented by Bach in the 1600's for the convenience of symphony orchestras. This
somewhat arbitrary musical system recognizes some half-notes, called flats and
sharps, which are played with the black keys on a piano keyboard. But there are
an infinite number of intermediate sounds ("in the cracks between the piano
keys"), sometimes called "micro-tones". You don't have to be an expert in music
or mathematics to recognize that the solfeggio system limits the possibilities for
music, which actually has infinite possibilities.
Would you like to hear all the harmonic microtones, instead of just some
of the harmonic tones? You would need a new musical instrument. That new
musical instrument has already been invented by mathematician Barbara Hero. It
is a synthesizer called the Harmonic Keyboard. The keyboard works with a
computer, so that you can easily program in, and hear, any sound frequency as
a key note. That key note is called the fundamental. The Harmonic Keyboard is
shaped like a diamond-shaped checker board. Anyone -- even non-musicians --
can play the Harmonic Keyboard, because every key is in tune with every other
key. If the key note of is 440 cycles per second is programmed in, then the row
of keys to the upper right increase by doubling (octaves) to 880, 1760, etc. And
the row of keys to the upper left decrease by halving, 220, 110, etc. (See the
illustration.) The theory, of course, is more complex but that is the basic idea.
The other keys play whole-number ratios, such as 3:2 (1320:880) (a
"harmonic"). And 2:3 (880:1320) (a "subharmonic"). Each key produces two
different notes simultaneously, one through each stereo speaker.
While the theory isn't easy to explain in words, it becomes instantly
understandable when one plays or listens to the entrancing sounds coming from
the keyboard, which Barbara calls the Pythagorean Lambdoma Harmonic
Keyboard (PLHK). Mathematicians may want to learn more about the theory,
which is based on Pythagoras' numeric table (known as the Lambdoma
Pythagorean Chi X, or Tetractys). The Lambdoma gets its name because the
numeric table was originally shaped something like the Greek capital letter
lambda [l].
Scientists agree that everything has a vibratory frequency, but why do we

assert that the Pythagorean Lambdoma Harmonic Keyboard holds the key to
unlock the mysteries of the universe? First, we can measure the frequency of
colors, chemical elements, organs of the body, and anything else, even planets,
stars and galaxies. Then we can "translate" these frequencies to sounds that we
can hear. Using the PLHK we can play, and play with, these sounds. Hearing
these "new" sounds can be profoundly healing. Many people report that these
sounds induce expanded states of consciousness. Barbara's PLHK's computer
program also shows the beautiful sacred geometric shapes that correspond with
the relationships, or ratios, between pairs of notes and even chords.
When our minds and bodies are out of harmony with our environment,
illness may result. Perhaps hearing the full range of possible sounds creates
harmony with our environment, and healing or wholeness. Barbara Hero's
decades of research into the mathematics of sound has resulted in a Renaissance
of music, and new, yet ancient musical scales, and a revolutionary musical
instrument. A wealth of information about music and healing can be found at her
website, www.lambdoma.com. Barbara's research has relied on the vital
contributions of many researchers, and her work will be carried forward by other
scientists in many disciplines. The Pythagorean Lambdoma Harmonic Keyboard
will prove to be a landmark in unlocking the mysteries of our musical universe.
As we approach the gateway to the infinite mysteries of the universe, we will
find that the door is already open.
Dan Shaw
DanShaw.com
www.vortexmaps.com.
POB 3028 Ashland, OR 97520 * 541-951-3394
Q&A1
Dear Hugo, I like your Cheops-Covenant Code. Year ago I was intuitively drawn to make
music by using 222Hz, 333Hz, 444Hz and 555Hz as fundamental frequencies on the
Lambdoma matrix. Now I know it represents part of the Cheops-Covenant Code. It
sounds somewhat like Tibetan Bells.
I took the numbers from your http://users.pandora.be/kenneshugo/ Bible & Pyramid

Archaeoastronomy. Your numbers 555 in Hertz represents a C#. Incidently the C# is
equivalent to the earth's period of rotation around the sun. C# is also connected to the
predominant DNA clusters of music. The 666 in Hertz is an E+ in music, and is almost a
harmonic chord with C#. I only mentioned this because I was guided to hear the sounds
of the numbers 222, 333, 444, 555 and 666 in Hertz. 222Hz is A, 333Hz is E, 444Hz is
also A, 555Hz C# and 666Hz is E+ again. A,C#,E is a harmonic chord based upon the
note A. The scale would be LA, DO and Mi, that seems to relate to your Giza: Dynamic
Model. http://www.planetarymysteries.com/egypt/rubino/gzdy2.html
How are vibrations assigned to chakras?
No one knows for sure just what frequencies are universal for the chakras. I chose my
version based upon the colors of the chakra system. Red for root and purple for crown.
Then I simply translated these colors into musical notes based upon Pythagoras' color
coding of musical notation. In order to make the notation into frequencies, I used the
ancient Lambdoma matrix of harmonic ratios and used the frequencies in Hertz in the
middle C octave to represent the chakra system. 256(C)Hz root, 288 (D) polarity,
320(Eb) solar plexus, 352(F+) heart, 348(G) throat, 416(Ab)psychic center, 448(Bb)3rd
eye, 480(B) crown. More recently, I found the frequencies of the orbits of the planets
around the sun to be related to the sequence of my chosen chakra system. All this is in
my aol website under "New Developments". I feel honored that some people, who
manufacture tuning forks, have taken many of the frequencies on my website to use for
their products.
Where can I find the Cantor-Array and the Farey-Series, you've mentioned? I know
Georg Cantor only as father of set theory... May I ask what's the strangeness for you in
Kayser's Lambdoma? Is it something about it's zero-origin? Or something too
mystically?
The Cantor array is the Lambdoma. I came across Cantor's array in the Book
"Mathematics and the Imagination" by Edward Kasner and James R. Newman, Simon &
Schuster,1967, p. 48. I have written about both the Cantor Array and the Farey Series, in
some of my papers.
Erv Wilson has an enormous amount of Farey Series and Lambdoma arrays on the
website called Anaphoria. http://www.anaphoria.com/wilson.html
Kaiser's "Akroasis" in Table II used zeros in the x and y axis of his table, where the 1/1's
and 16/16's all became zeros rather than 1/1. I have always thought of the zeros as being
points outside the matrix. But perhaps this version is closer to the Riemann Zeta
hypothesis than we know. The Pythagorean Lambdoma ChiX also has zeros running
along the outsides of the X.
How would we get THE fundamental RESONANT frequency of the shape, specifically
how might we especially, for instance determine the singular primary resonant frequency
of an irregular complex 2D polygon, such as say a thirteen sided figure, all with different
side lengths and angles.
Converting 2 D geometric shape to corresponding acoustic frequency, conversion taking

into consideration, all relevant dimensions of shape, including angles, length, width, area,
etc.... shape could be for instance an octagon or even a lissajous figure
FOR ANGLES: TAKE THE ARCTAN OF THE RATIOS IN THE LAMBDOMA

MATRIXTO FIND THE CLOSEST FIT ANGLES.
FOR LENGTHS AND WIDTHS: THE FORMULA IS F = V/W:

F IS ACOUSTIC FREQUENCY
V IS THE VELOCITY OF THE SPEED OF SOUND IN AIR ( ~1130 FT PER
SECOND, depending upon temperature and sea/land level)
W IS WAVELENGTH A.) converting 2 D geometric shape to correspondinf acoustic
frequency, conversion taking into consideration, all relevant dimensions of shape,
including angles, length, width, area, etc.... shape could be for instance an octagon or
even a lissajous figure.
Could you explain to me the Pythagorean Lambdoma?
You can find out all about the Lambdoma from my website: http://www.lambdoma.com
If you scroll down to the bottom of the page you will find a button ILRI. There is a
description of the Lambdoma matrix that was attributed to Pythagoras.
I, with the help of others, created the Pythagorean Keyboard that is the first of its kind. I
have used it with clients to help them discover themselves on emotional, spiritual and
mental levels. It helps to lessen pain on a physical level. The client chooses the keynote,
plays the keyboard and often goes into a happy dreamlike state. Also the client may
watch the shapes of the harmonic musical intervals that are played. It is an aural, tactile
and visual experience all at once.
On your site you have a list of cycles per second(hertz) and their corresepondences to the
mental state... in this list you have listed 16 as the botom limit of hearing. In my studies I
have found that the majority of science agree that 20 is the lowest before infrasound.
Looking at your charts i have gone through and added 4 hertz to each one to see what is
would give me. what I need to know is if you think that what they say about 20 hertz is
baloney. Hw exactly does the list work? Are the listed freqs the actual freqs to be used or
do they represent something? Also, what decibel do you create the sound with and what
speakers do you use. All the speakers I have don't go low enough to recreate the lower
frequencies.
You are correct, sixteen cycles is below hearing. Even though it is below hearing (sub-
audible) the vibrations are still there. In other words you would feel them as a slow
vibration but not hear them. Some people cannot even hear 20 Hertz. I am not sure that
adding 4 hertz would be what you wish. It depends upon what you wish to accomplish.
When you add 4 Hertz to 16 you have 20 Hz a note that is Eb, instead of 16 Hertz that is
a bit lower than C.
If you use the Lambdoma matrix you would set the fundamental to 320 Hertz a multiple
of 20 Hertz several octaves above 320 Hertz. The listed frequencies from the Lambdoma
matrix are based upon the fundamental frequency of 256 Hertz. Any frequency may be
used as a fundamental in the Lambdoma matrix. Why don't you look at my Lambdoma
Keyboard in my catalogue. This is the instrument that I use to generate different
frequencies that are all harmonic no matter what frequency you choose as the
fundamental frequency.
I use the Lambdoma keyboard with an IBM computer. It is the computer that has its own
speakers. I do not have the sounds set to loud just normal. Most companies do not have
speakers that go below 20 Hertz. Many computer programs only go to 110 Hertz.
So, you start at 256 and work up to 512. So 1=256, 2=257 and so on? Do you have a
chart you can send me that translates the freqs in numerical order with their correlation
to the psychic mind?
The scale that I use includes the harmonics of any frequency between 256 and 512, 288-
576, 320-640, 352-704, 348-696, 416-832, 448-896, 480-960. This is a Lambdoma scale
in each octave. The psychic center, I believe, is between the frequencies 416 and 832. In
order to find the harmonic frequencies between 416 and 832 just multiply 52 by 8, 9, 10,
11, 12, 13, 14, 15 and 16.
I have been studying frequencies for school and have recently come across your site. The
Science community lists 7-8 hertz as the resonant freq of flesh. The freq is extremely
harmful to flesh and organs. Also, 19 hertz is supposed to vibrate the eyes and cause
them to see 'illusions'. I see your chart and am interested in how it works and if it
corrolates with the others ideals. If I wanted to unlock the psycic (telekinesis is my goal)
mind would I be able to do it by harmonic frequencies?
It is true that very low frequencies such as 7-8 Hertz may be harmful to the physical
body. However when these frequencies are raised to an audible level they become
musical notes. The mathematics of musical notes is based upon the octave. The octave is
simply a doubling or halving of any frequency.
I use a reference octave composed of frequencies between 256 Hz (a little below middle
C on the piano) and 512Hz (C), (an octave above 256Hz). Within this octave are found 8
notes of the scale. In the scales of India are found 52 articulations (notes) within the
octave.
Thank you for telling me about 19Hz. I didn't know that 19Hz results in "illusions."
When raised to a musical note it is 304Hz (D#/Eb). The matrix that I use is made up of
only harmonic and subharmonic ratios. The structure of the matrix itself seems to unlock
the psychic in individuals.
I hope you will find the time to read this E-book, called : The Cycle of Change. I want to
ask you if you would be so kind to give me your opinion on it, positive or negative. The
URL is : http://members.home.nl/peregrine or www.thecycleofchange.tk
You mentioned looking for the angles. The musical and ratio equivalents of the angles
(when the fundamental is 256Hz (C)) are: 30 degrees = 7/12 [12th subharmonic](D), 36
degrees = 8/11 [11th subharmonic] (Gb), 54 degrees = 7/5 [5th subharmonic] F#, 60
degrees = 7/4 [4th subharmonic] A+.
Also, by octave reduction 25,920 years = an F musically, while 34,560 years = a C

musically. This means that F at a ratio of 1/3 is a subharmonic of C at a ratio of 1/1. That
is a wonderful sounding harmonic.
Also, 2160 years (F) is an octave reduction of 34,560 (F) by halving 4 times. 30 degrees
(A) is 5th harmonic of F. This means that there is a harmonic chord of FAC (1st,5th,3rd)
that is based upon the two precessions and the 30 degrees.
You mentioned in the introduction that 23.5 degrees is the plane our planets rotate around
the sun . 24 degrees = 4/9 (ratio) = Bb. The setting and rising sun at about 80 degrees
=11/2 (ratio) = F. Bb is a harmonic of a third 3rd or 3/2. The chord would be F, Bb, C, a
traditional wonderful harmonic, that includes both precessions as well as the 24 degree
plane of the planets.
Are your books translated in Italian language?
Alice Galassi, who has made some translations of some of my writings. Her e-mail
address is: [email protected]
DO ANY OF YOUR BOOKS GIVE THE CHORDS IN SUCCESSION RATHER

SPECIFIC NOTES THAT MAKE UP THE CHORDS IN YOUR MUSICAL
ACUPUNCTURE MERIDIANS TAPE OR COULD U WRITE THE NOTES OR HAVE
THE SHEET MUSIC?
I have not dealt specifically with chords in my music. I would have to look up the Amiga
program software for the Meridian tape and translate the frequencies back into notes that
made up the chords. If you think that you could use something like that let me know.
Also, I do not have sheet music for either the Meridian or the Chakra Attunement music.
The Chakra Attunement tape is the only one done with the Western scale. We sell the
tape but will have to check to see if we have a score. If we do have a printout it would be
part of a software Amiga program.
Do you have a copy of my "Chakra Attunement Chords" cassette? If you do you could
just make a copy of the sounds to use as samples for your equipment.
Below is the way of arranging the chords in a musical form from the "Chakra Attunement
Chords" These frequencies are all within the middle C octave:
CHORDS FREQUENCIES IN MIDDLE C CHAKRAS

C G C G E 256 384 512 768 1280 root throat root throat
solar
C# G# C# G# F 272 408 544 816 1360
D A D A F# 288 432 576 864 1440 polar 3rd eye polar 3rd
heart
Eb Bb Eb Bb G 315 473 630 948 1575
E B E B Ab 320 480 640 960 1600 solar crown solar crown
psych
F C F C A 341 512 682 1024 1705 heart root heart root 3rd
eye
F# C# F# C# A# 352 528 704 1056 1760
G D G D B 384 576 768 1152 1920 throat polar throat polar
crown
Ab Eb Ab Eb C 410 615 820 1230 2050
A E A E C# 416 624 832 1248 2080 3rd eye solar 3rd eye sol
transpersonal
Bb F Bb F D 448 672 896 1344 2240
B F# B F# Eb 480 720 960 1440 2400 crown heart crown heart
solar
To imitate the sounds from the cassette divide the frequencies in the top row by 16 for the
lowest sounds. They increase pitch by increments as you go from the top row to the
bottom row.
How do the Meridians fit in? The Meridians have their own frequencies based on the
angles from 31 degrees to 45 degrees. The musical notations include their scales A, B, C,
D E, F and G. Do you have our "Musical Chords Affecting our Body's Acupuncture
Meridians"?
1- I'm confused about the colors of the chakras. I've never seen them, but I thought the
crown was violet, 3rd eye royal blue and the throat ice blue. Seems like everyone has
their own version of what they are seeing. How did you settle on the colors?
2-Room tuning for the apartment dweller...I didn't really find a place where this is
discussed. . . can a room be retuned to increase a desired outcome? Can my WALLET be
tuned to have plenty of ready cash to have fun with. :-)
3-I am familiar with sound + color + intention = creation, but I'm uncertain as to
whether or not this is also what you are discussing in your work. How do you imput this
into the grid?
1) The colors of the chakras I estimated at being complementary. That is, that the crown
then becomes gold instead of violet, the third eye becomes yellow-orange instead of royal
blue, the throat becomes orange instead of ice blue, etc. This is calculated by taking the
frequencies (instead of the wavelengths) of audible sound multiplied many times to reach
the frequencies of the colors.
2) On "room tuning", you can find out what the harmonics are in your room by
measuring the height, length and width. The chart will show you what the musical
notation is. If you get a C E G or D F A etc. You will be in a room that is very
harmonious. If you are an architect you could build a room that is in harmonic musical
proportions. About the wallet, it doesn't relate!
3) On the grid, all of the ratios are proportional to each other, therefore you may measure
the dimensions of a room and find the ratios within the grid, thus insuring that your room
is in perfect proportions. To use sound simply multiply all the ratios in the grid by the
audible frequency in Hertz that you choose, and all the sounds will be harmonic with
each other. Our Pythagorean Lambdoma Harmonic Keyboard will do this.
http://members.aol.com/bhero/hardware.html
Pythagoras color-coded each musical note to a specific color, so that there can be a one-
to-one relationship between sound and color. The intention of helping humanity is always
the best key.
I can understand how you used the Lambdoma matrix for evaluating length, orbits, time,
etc for everything accept the elements. Please describe how you arrived at the
frequencies you have for the elements. In using their atomic mass one comes close. I
realize that others would change the mass value stating that the physicists have not
accounted for everything in determining each element's mass. Even if you change them
slightly, it is still difficult to get a harmonic (octave) relation between the individual
elements of a given row in the periodic chart.
I am trying to determine the best frequency that can be associated each element directly
or proportionally. I have seen others use the nuclear magnetic resonance technique to
determine the frequency of each element. Others have tried to do by calculating the
wavenumber of the element and matching it to a musical interval. The latter produces
many wavenumbers for the same frequency which then varies across the entire musical
scale.
The way I determined the elements was by taking the element number and multiplying it
by 2 until it reached a reference octave between 256 and 512.
I consulted a physicist in Atlanta, Georgia who had written an article in the New York
Academy of Science journal. Unfortunately, I have misplaced his name. I went to his
office at the University and asked him what would be the best number to use in order to
translate the periodic table to musical frequencies. He replied that the number of the
element would be the best way. Later I realized that the atomic weight (or density) of
each element is close to an octave relationship. Because I believe in the inverse
relationships in color, music, etc. I then took the inverse (reciprocal) of each frequency as
a duality that would include a musical chord.
I am sure that there are many other ways of determining the music of the elements.
Perhaps you will be able to find another way on your own.
The matrix is now applied to an actual Pythagorean Lambdoma Harmonic Keyboard.

You may view it's description on my webpage:
http://members.aol.com/bhero/hardware.html
Is the PLHK capable of generating tones in the Mhz range?
Our Lambdoma Keyboard's matrix would range from 20 to 20,000 Hz as that is range of
most computers. Mhz would be 1,000,000Hz, that is way beyond hearing. Is that what
you were thinking of? Do you want 440hz multiplied by 2 a number of times to equal
1,802,240Hz? The middle C octave (+ or - one octave) is the one that most sound healers
tend to use. There are some sound healers such as Nichole Lavoie that use the lower
frequencies down to 16hz or so.
Reviewed your paper, "International Harmony based upon a music of planetary grid
systems", [in Childress, Anti-Gravity and the World Grid] as well as comments on the
ChartresMusic i-net file.
Perhaps I'm missing something obvious, but the formula shown; v = fw doesnt seem to
actually provide the cps. What exactly is the octave expansion / reduction formula? In
other words, specifically how are miles, such as 4264 miles actually converted to cps. I
understand that once the cps is determined its a simple process of mulitplying by 2 to the
"n" number to arrive at the musical note.
Lets say that I want to know " X ", representing an unknown frequency / cps, and I know
the miles, "1000" and v = 1130,
v = (x)w
how is 'x' determined? formula wise?
The concept of using the 1130 for the average speed of sound in air allows one to
compute the frequency of organ pipes. More importantly, it allows the computing of the
resonant frequency of rooms with opposing flat walls. It is also important, for instance in
computing the distance to a flash of lightning. Therefore, each second after you see a
flash of lightning, it means that for every second that you count the flash is approximately
another 1130 feet away.
Because echo is required for there to be a resonance, this allows you to know how far
away the echo is coming from.
I work with the number of feet in a mile in my measurements of the grid system. The
speed of sound in air at room temperature is 1130 feet/sec. This makes one foot equal to
1130 (Db). Since there are 5280 feet in one mile, one mile equals .214015151 cps. 1000
miles equals 5280000 feet. Therefore 1130/5280000 equals 2.140151515^-10 to the04Hz.
By octave expansion (multiplying by two until one comes to the reference octave
between 256cps and 512cps we get 448.8cps Bb as is seen in the chart of miles in
"International Harmony based upon a music of planetary grid systems".
I've seen your wonderful chart that relates areas of the body to specific Hertz to promote
healing. What I don¹t understand is how you make the Lambdoma play tones within a
specific Hertz or range. When you play that specific Hertz frequency, do you play
complementary tones to support healing in that body part or the same tone repeated for
some duration of time?
I'm not clear about how the keyboard works with color, unless we are simply referring to
another frequency/vibratory level. Does the art work produced by the keyboard have
anything to do with healing capabilities?
The Lambdoma Keyboard is in the form of a matrix that generates all the frequencies in
the matrix by putting the specific frequency as a fundamental in the 1/1 position.
Therefore all the frequencies in the matrix are harmonically controlled by the chosen
fundamental frequency, what ever it may be. Usually, I keep the fundamental frequency
as a drone. It is the drone that, I believe, creates the healing, for it creates a stereo interval
with all the other ratios in the matrix. All the tone/ratios are relatively complimentary to
each other because of the fundamental governing frequency.
The keyboard does not produce color only sound. We have made four color overlays for
the PLHK based upon C at 256Hz as the color red. The notations in the Lambdoma scale
include all the primary, and secondary colors according to Pythagoras' "color-coding".
One could just play the different colors on the overlay to see how they sounded and how
they felt. Yes, I also believe, that color heals. When a person selects their favorite note
from the matrix, it represents a color as well, very often their favorite color.
We also include four overlays for the PLHK of Lissajous shapes that are consistent in
configuration no matter what frequency is chosen. That way individuals can also just play
the harmonic shapes and create harmonic sounds.
About your last question on the right and left sides of our bodies. As I understand it the
right side of the body is the male energy and the left side is the female energy. When a
healer, Foster Perry visited us here in Maine, he healed my partner, Robert, by working
with my right side. The Lambdoma has a right and a left side. The right side is made up
of ratios that are called the overtone harmonic series. The left side is made up of ratios
called the undertone subharmonic series. The overtone series may be likened to spiritual
plane, while the left side is the earth plane. This is evident from Pythagoras' Lambdoma
CHI X table that is in the form of a hour glass (as above, so below). Above is the cosmic,
below is the earth plane represented by the Lambdoma with its left and right sides (both
spiritual and earth plane).
My suggestion when you have the PLHK is for each of you, one at a time, to choose your
favorite sound from quadrant 1 of the PLHK. Then you set the frequency that you chose
(which you will see on the screen) to be the fundamental frequency of your own matrix.
Using your own fingers as your kinesiology tools, you then play in succession all four
quadrants for about 4 or 5 minutes each. When you ask questions of your higher self as
you are playing, expect that you will find the answers. I have conducted about 250
private sessions using this method with almost instantaneous results concerning health,
mission, emotional and spiritual needs.
You will be able to experiment in all sorts of ways with the PLHK. I am a trial and error
sort of person and do my work based upon intuition (what feels right) to a large extent.
Q&A2
I've been finding the information about the frequencies of the different parts of the body
etc very interesting, but was wondering how it is measured & what scale it is measured in
ie hertz per second.
The frequencies of the different organs of the body were provided by ultrasonic
frequencies from one of the hospitals in my area. I then calculated the frequencies to be
in musically audible reference octaves. The Hertz frequencies fall between the cracks of a
piano keyboard so the scale is not a familiar one in the Western world.
William Delbert Gann

http://www.xmlworks.com/gann/sotu.html
http://www.webspace4me.net/~blhill/pages/w.d.gann.html
http://www.webspace4me.net/~blhill/pics.aux/gann/SquareofNine.jpg
http://www.lambertganneducators.com/newsletters_print/article_squareofnine-part1.php
My drawing on the cover of my book "Glass Bead and Knot Theory of Relationships" is
a Lambdoma diagram of octaves that starts at the center and continues in a square spiral.
It is definitely a Gann Square.
Do you feel it would be accurate to say that to arrive at a true 'signature' resonant freq
for a shape whether it is 2d or 3d such as a room, that we sum all relevant component
freqs derived from the angles, and various dimensions such as length, width, etc.... for
instance how accurate would it be in your opinion, to say we have determined the actual
signature resonant freq for a room by adding all the angle freqs + length freq +width
freq +height freq, does the sum of all these adequately represent such or is some other
formula method required. Unsure if you are familiar with Royal Rife, Priore or Beardens
works, but they seem to think for instance that each material object such as a 'wine glass'
has its own literal and unique 'identifier stamp', a resonant freq that actually defines it in
time / space, etc... by knowing the unique stamp the object itself can be spefically
modulated / engineered...
Yes, I am familiar with Rife's work as well as Tom Bearden's work. Each object or room
has its own resonant frequency.
When the frequency is in tune (in unison) with the object it resonates. You might have a
formula that is somewhat like this:
R = (ˆl^3 + w^3 + h^3 + a^3) where R = resonance; lwha = length, width, height, and
angle cubed. You can play around with this concept and might come up with something
that works.
I have been looking for recommended books to read on sound healing.Can you
recommend any?
I am also looking for somebody to tell me how to measure the frequency of a vibrating
item such as a Tibetan bowl or a ringing bell.
I am currently doing Hypnotherapy and I would like to incorporate these healing sounds
in my therapy.
If you search the web look for Jonathan Goldman. He has books on "healing with sound."
Don Campbell is another, as is Fabian Mamon, Kay Gardiner, and many others.
About measuring the frequency of a Tibetan bowl or a ringing bell. You could buy a
frequency counter from an electronics firm and a contact microphone. The frequency
counter would give you a digitized read out. If you want only the notes of a scale a
simple musician's tuner (at a music store) would allow you to recognize the notes.
Perhaps you could find other method on the internet.
My name is Huub Klaassen.
I want to thank you for spending time on my approach on the Chartres Labyrinth.
The results you mention are quite remarkable and a real inspiration for me to continue
my research.
I am not a mathematician or musician, but mostly use my intuition regarding my attempts

to find the true harmony (numerical, geometrical or otherwise) inside various ancient
monuments..
Perhaps this 'unbiased' approach has some major advantages, perhaps not.
Up until now, I have used the geometrical composition which I found inside the Labyrinth
as a Key to 'unlock' the geometrical peculiarities of the groundplans/features of several
ancient structures like: The Giza-complex, The Angkor-complex, Borobudur and the
groundplan of Chartres Cathedral..
Geometrical/astronomical- speaking, all mentioned structures have some very striking

things in common.
By applying the labyrinthine Key, they all reveiled a geometrical 'clockwork' which
demonstrates ancient knowledge about the cycle of Precession.(25.920 years) Measured
against this astronomical cycle however, they also demonstrate an even larger cycle of
34.560 years, which comprises a series of 16 zodiacal signs (or 4/3 parts of the cycle of
Precession).
The geometry of the groundplan of Chartres Cathedral certainly embodies and

demonstrates this larger cycle.
When I saw your illustration of the resonances inside this Cathedral, I instantly
recognised some patterns that are very familiar to me.
With the reversed and mirrored nature of the two halves of the 'straightened' labyrinthine
path in mind, the groundplan of this place makes a lot of sense, for if we draw a line
through the centre of both Transepts and then 'mirror' the location of the Labyrinth
towards the Choir, the form of the Labyrinth fits snuggly inside the semi-circular part of
the Choir, at the spot where 'the other source near the altar-area ' is situated.
To me the Lambdoma Matrix makes a lot of sense and certainly strikes some chords with
me. I've attached a graphic of a part of the geometrical clockwork of Chartres for
clarification.
Again, thanks for spending time on the Labyrinth.
It almost looks as though the dimensions of the Great Pyramid is the central pyramid in
your drawing superimposed on the Chartres Cathedral.
So 25,920*4/3 = 34560. A ratio of 4/3 is a musical fourth in music. This means that the
precession of 25,920 years is the ratio of 1/1. That means that 272.2Hz a C#/Db is the 1/1
ratio. That particular frequency reduced to a reference octave in music is the same as the
orbit of our planet around the sun. It also represents one of the DNA clusters of C#
researched by Susan Alexjander.
Thank you so much for your insight and your very important key to "unlock" so many
geometrical peculiarities of ancient groundplans. If you work our the ratios for each of
the 16 zodiacal signs, you would have a very important musical matrix.
Your website is magnificant. I wanted to add some things that stimulated me after
reading your chapters. Perhaps these will mean something to you as well.
You mentioned looking for the angles. The musical and ratio equivalents of the angles
(when the fundamental is 256Hz (C)) are:
30 degrees = 7/12 [12th subharmonic](D),
36 degrees = 8/11 [11th subharmonic] (Gb),
54 degrees = 7/5 [5th subharmonic] F#,

60 degrees = 7/4 [4th subharmonic] A+.
Also, by octave reduction 25,920 years = an F musically, while 34,560 years = a C

musically. This means that F at a ratio of 1/3 is a subharmonic of C at a ratio of 1/1. That
is a wonderful sounding harmonic.
Also, 2160 years (F) is an octave reduction of 34,560 (F) by halving 4 times. 30 degrees
(A) is 5th harmonic of F. This means that there is a harmonic chord of FAC (1st,5th,3rd)
that is based upon the two precessions and the 30 degrees.
You mentioned in the introduction that 23.5 degrees is the plane our planets rotate around
the sun . 24 degrees = 4/9 (ratio) = Bb. The setting and rising sun at about 80 degrees
=11/2 (ratio) = F. Bb is a harmonic of a third 3rd or 3/2. The chord would be F, Bb, C, a
traditional wonderful harmonic, that includes both precessions as well as the 24 degree
plane of the planets.
From: "William S. Buehler" [email protected] Subject: Klaassen labyrinth graphics
Here are the 3 [Klaassen labyrinth graphics] he gave me. He also sent this note which you
might use:
In order to give you some idea of my work so far, I will give you a synopsis of my way of
approach.( we can always go into this in further detail if you wish so). I started out with
the form of the circular Labyrinth as it is present in Chartres Cathedral. Since this circular
form has an almost 'hypnotising' effect on any onlooker, it is extremely difficult to
examen it more closely.
The circular form can easily be devided into four quadrants and doing so, I found that the
seperate loops of the path never exceed more than two quadrants. This gave me the idea
to try and 'straighten' these curved loops so I could investigate them more closely without
the 'hypnotising effect'. The stunning result of this 'straightening' was an image of the
labyrinthine path which harboured the most perfect properties.
After having established this true baseline of the Labyrinth this way, the geometry almost
automatically took over and the entire Labyrinth seemed to come alive somehow in a
most spectacular way. Every geometrical form seemed to dictate the form, position,
direction and proportion of the next one and so on. This went on until the entire
composition was completed and the end-result radiates a sense of perfect balance and
proportion. Several line-ups exist inside this composition, especially between the
hexagram and the pentagram and both suggest a delicate geometrical interplay inside the
composition which proves to be based on the values of the Golden Number.
The Labyrinth can be approached in two ways : one way works as is mentioned above
and results in this geometrical composition ; The other way is to construct this
composition in a purely geometrical way, starting out with a small circle.
As soon as the composition is completed this way, the lines of the various geometrical
forms will generate the same baseline on which the Labyrinth is constructed.
All that is needed here is a pair of compasses, a ruler and a good sense of logic and
precision.
The baseline of the Labyrinth is a wonder in itself : although it is one line, it exists out of
two line-halves which are the exact reversed and also mirrored images of each other.
Much encouraged by this 'geometrical revelation' , I have tested the geometrical interplay
of the Labyrinth on the lay-out or groundplans of several ancient structures like : the
Giza complex, Angkor, Borobudur etc. To my great astonishment they all readily
reveiled their true nature, namely : inside the geometry of these places, a most beautiful
and incredibly clever astronomical 'clockwork' is preserved which ticks away the seasons
of the heavens, in this case an unknown cosmic cycle that comprises 34.560 earth-years.
All ancient structures on which I applied this labyrinthine key gave exactly the same
result.
We know that, with regard to precession, the space of one Zodiacal sign on the Ecliptica
comprises a timespan of 2.160 years.
Where one complete cycle of Precession comprises 12 x 2.160 = 25.920 years, this cycle
of 34.560 years comprises 16 signs.
When tested on the groundplan of Chartres, here also (and very much to my surprise) the
geometry of the place generated an exact timespan of 34.560 years and I most strongly
believe that the 16 Grail Kings that you mention are of extreme importance here.
The geometrical / astronomical clockwork at Giza gives as a startingposition of this large

cycle a point in time when the Zodiacal sign of Leo formed the background of the sunrise
on the morning of the spring-equinox (about 13.000 years ago).
When we take it that this starting position was in the middle of this Zodiacal sign, we can
comfortably add another 1000 years to this (1080years to be precize) in order to arrive at
the Rutans at a point in time when the sign of Leo began.
If the present large cycle indeed started with the Sign of Leo( as the clockwork at Giza
indicates), this implies that the large cycle preceding the current one must have ended in
the Zodiacal sign of Virgo. Seen in this light, the name-giving of most Gothic Cathedrals
might have an additional and perhaps very special reason. All those who have worked so
hard on restoring the ancient knowledge and have tried to bring this knowledge to a next
and higher level may indeed and most apropriately be called true Children of the Virgin.
(In a way you mention this yourself "Basically WE are the Templars, back to continue
the work").
I am quite convinced that certain aspects of the ancient knowledge still linger in the
geometry of the groundplans of the circular Templar churches. After 1307, most of them
were taken down and were rebuilt in a more rectangular style. (Why exactly was this
done?)
These are only some remarks and questions on the task at hand. I sincerely hope they will
be of any help to you, the same as your labour is important for my understanding and way
of approach. Ultimately we appear indeed to be working on the same task.
Bill Buehler
The geometry is certainly a square sine wave. This is quite a remarkable way of
analyzing the Chartres Labyrinth.
His linear sine wave forms could also be a musical score, with the spaces being F,A,C,E,
and the bars being E,G,B,D,F. You could make chords where two are together. It sounds
great on the piano.
The Labyrinth score above could be translated into frequencies so that you might have:
341Hz(F), 341Hz(F)448Hz(A), 341Hz(F), 448Hz(A), 512Hz(C), 640Hz(Eb), 640Hz(Eb),
640Hz(E)525Hz(C), 640Hz(Eb).
I was comparing the Labyrinth to a Lambdoma Mandala a while back:

http://members.aol.com/Lambdom/Home/ILRIHomePage.html
If you scroll near to the bottom of the section above, you will find the Mandala of the sun
and one of the earth. The color coding of the notes indicates a spiral. The color coding of
the musical notes is: A = purple, B = magenta, C = green, D = orange, E = yellow, F =
green, G = blue. I transposed a transparency of the Labyrinth over the Mandala of the sun
and had interesting results. Perhaps there is a connection here to Klaassen's Labyrinth?
My research and reading has led me to the concept of "entrainment" that involves the
ability of the more powerful rhythmic vibrations of one object to change the vibrations of
the less powerful rhythmic vibrations of another object and cause them to synchronize its
vibrations with the first object.
My question is: What makes the rhythmic vibrations of one object more POWERFUL
than the rhythmic virbrations of another object?
The Lambdoma Keyboard is an example of entrainment. The fundamental frequency that

you put in the 1/1 position controls all of the other ratio frequencies in the matrix. Realize
that you may put any audible frequency in the 1/1 at any audible octave.
When a client chooses their favorite frequency out of Quadrant #1, his or her choice
determines the more powerful vibration. It is this factor, I believe, that causes the
entrainment that results in the client being able to access their "higher selves", "higher
consciousness", etc. All the other frequencies in the matrix are governed by that chosen
fundamental. I always use the "drone" feature in FTS in order to have the effects of
entrainment. The drone feature is always present in LambdomaS. LambdomaS is is a
very good simple program to use with a client.

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Barbara Hero’s lambdoma.

Further Lambdoma Writing & Research

International Harmony Based Upon a Music of Planetary Grid Systems

New Musical Instrument May Reveal Key to the Universe

© Barbara Hero 2008

International Harmony Based Upon a Music of Planetary Grid Systems

not being an anthropologist. Your work in harmonics begins to get at something I

Two “diamonds” of the EarthStar Globe.

Scientists agree that everything has a vibratory frequency, but why do we

I took the numbers from your http://users.pandora.be/kenneshugo/ Bible & Pyramid

How are vibrations assigned to chakras?

Converting 2 D geometric shape to corresponding acoustic frequency, conversion taking

FOR ANGLES: TAKE THE ARCTAN OF THE RATIOS IN THE LAMBDOMA

FOR LENGTHS AND WIDTHS: THE FORMULA IS F = V/W:

Could you explain to me the Pythagorean Lambdoma?

Also, by octave reduction 25,920 years = an F musically, while 34,560 years = a C

Are your books translated in Italian language?

DO ANY OF YOUR BOOKS GIVE THE CHORDS IN SUCCESSION RATHER

CHORDS FREQUENCIES IN MIDDLE C CHAKRAS

The matrix is now applied to an actual Pythagorean Lambdoma Harmonic Keyboard.

Is the PLHK capable of generating tones in the Mhz range?

William Delbert Gann

My name is Huub Klaassen.

I am not a mathematician or musician, but mostly use my intuition regarding my attempts

Geometrical/astronomical- speaking, all mentioned structures have some very striking

The geometry of the groundplan of Chartres Cathedral certainly embodies and

Again, thanks for spending time on the Labyrinth.

54 degrees = 7/5 [5th subharmonic] F#,

Also, by octave reduction 25,920 years = an F musically, while 34,560 years = a C

From: "William S. Buehler" [email protected] Subject: Klaassen labyrinth graphics

The geometrical / astronomical clockwork at Giza gives as a startingposition of this large

I was comparing the Labyrinth to a Lambdoma Mandala a while back:

The Lambdoma Keyboard is an example of entrainment. The fundamental frequency that

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